William Shakespeare wrote A Midsummer Night’s Dream five centuries ago in the late 1590s, telling the story of a fae-induced love triangle and two spatting fairy rulers set in ancient Athens.
But Nicholas Hytner’s new production at The Bridge brings it into the 20th century, with subtle modern-day references and characters taking audience’s phones to look up calendars and take a cheeky selfie.
The Bridge Theatre’s unique approach with its standing immersive tickets really suits this production, which would have been shown to huge standing crowds at The Globe when it was first written.
This of course adds to the humour as the characters move through the audience and interact with them, with plenty of moments that aren’t on the script.
Jubilant and mirthful, this creative retelling slightly bends the original story by swapping the roles of Titania, played by Susannah Fielding, and Oberon, played by JJ Feild, so that Oberon is the one who falls privy to the power of Puck’s flower and Fae Queen is the trickster pulling the strings.
But this isn’t the only surprise, as the lovers Lysander (Divesh Subaskaran), Demetrius (Paul Adeyefa), Hermia (Nina Cassells) and Helena (Lily Simpkiss) all end up having a passionate moment with one another.
Neither did I expect to see a shirtless King Oberon pole-dancing on a bed wooing Bottom to Beyonce’s Love on Top, whilst his throng of fairies perform acrobatics around him.
David Moorst gave a fantastic performance as the trickster Puck and his Yorkshire brogue really added to it – especially his hilarious off-scripted interactions with the audience, like when he exclaimed “Londoners!” as he attempted to move through the thronging crowds.
Emmanuel Akwafo’s performance as Bottom was lively, funny and totally rambunctious, bringing so much humour to this already comical character, and I was in utter hysterics as he proclaimed to a doting Oberon “Not now babes I’ve got a headache!”
The set, created by Bunny Christie, still gives the show its whimsical charm, with flowers and giant moon balls for the audience to play with, whilst its iron framed bunk beds and roll top bath give the show that timeless edge.
All in all, The Bridge’s production masterfully recreates this classic tale with all its original material, whist making it feel like an entirely new version with its role reversals and immersive elements.
It’s safe to say this won’t be the last time I see this production before it ends on August 30.
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